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==Jazzcore==
==Jazzcore==
{{references|section}}
{{references|section}}
{{Infobox music genre
| name = Jazzcore
| stylistic_origins = {{hlist|Punk jazz|[[hardcore punk]]}}
| cultural_origins = Mid 1980s, [[United States]] and [[Southern Europe]]
| instruments =
| other_topics = {{hlist|[[Mathcore]]|[[jazz metal]]}}
}}

Some [[hardcore punk]]-influenced punk jazz bands such as [[Zu (band)|Zu]], [[16-17 (band)|16-17]], [[Painkiller (band)|Pain Killer/Painkiller]], and [[Ephel Duath (band)|Ephel Duath]] have been described as '''jazzcore'''.
Some [[hardcore punk]]-influenced punk jazz bands such as [[Zu (band)|Zu]], [[16-17 (band)|16-17]], [[Painkiller (band)|Pain Killer/Painkiller]], and [[Ephel Duath (band)|Ephel Duath]] have been described as '''jazzcore'''.


Revision as of 13:19, 27 May 2022

Not to be confused with "Punk Jazz", a composition by Jaco Pastorius, or with Jazzpunk, a video game.
Punk jazz
Stylistic origins
Cultural originsMid-1970s, United States
Subgenres
Jazzcore, Swing punk
Other topics

Punk jazz is a style of music that mixes elements of jazz, free jazz and free funk with punk music such as no wave, and hardcore punk. John Zorn's band Naked City, James Chance and the Contortions, Lounge Lizards, Universal Congress Of, and Laughing Clowns are examples of acts associated with the style.

History

1980s

James Chance in 1981

In London, the Pop Group began to mix free jazz, along with dub reggae, into their brand of punk rock.[1] Their sound on Junkyard (1982) was described by one journalist as a mix of "no-wave guitar, free-jazz craziness, and punk-processed Captain Beefheart angularity".[2]

In New York, no wave was inspired by punk and free jazz. Examples of this style include Lydia Lunch's album Queen of Siam,[3] the work of James Chance and the Contortions, who mixed funk with free jazz and punk rock,[3] Gray, and the Lounge Lizards,[3] the first group to call themselves punk jazz. Bill Laswell and his band Material mixed funk, jazz, and punk[4] while his band Massacre added improvisation to rock.[5] He was a member of the American free jazz band Last Exit[6] and Pain Killer.[7]

James Blood Ulmer applied Coleman's harmolodic style to guitar and sought out links to no wave. Bad Brains, widely acknowledged to have established the rudiments of the hardcore style, began by attempting jazz fusion.[8] Guitarist Joe Baiza executed his blend of punk and free jazz with Saccharine Trust and in Universal Congress Of, a group influenced by the work of Albert Ayler.[9] Greg Ginn of Black Flag incorporated elements of free jazz into his guitar playing, most notably on Black Flag's 1985 instrumental EP The Process of Weeding Out.[10] Henry Rollins has praised free jazz, releasing albums by Matthew Shipp on his record label[11] and collaborating with Charles Gayle. The Minutemen were influenced by jazz, folk and funk. Mike Watt of the band has spoken about being inspired by listening to John Coltrane.[12]

Dutch anarcho-punk group the Ex incorporated elements of free jazz and particularly European free improvisation, collaborating with Han Bennink and other members of the Instant Composers Pool.[13]

Greek-American singer Diamanda Galás approached jazz tradition from a thematically and stylistically transgressive perspective. Her album The Singer is a prototypical example of punk jazz applied to vocals and piano performance. Nick Cave and the Bad Seeds bassist Barry Adamson recorded the album Moss Side Story, which also applies a punk and noise rock perspective to the orchestral jazz tradition, with Galás singing on one track.[14]

1990s

Free jazz was an important influence in the American post-hardcore scene of the early 90s. Drive Like Jehu took Black Flag's atonal solos a step further with their dual guitar attack. The Nation of Ulysses had Ian Svenonious alternating between vocals and trumpet, and their complex song structures, odd time signatures, and frenetic live shows were as much hardcore punk as they were free jazz. They even did a brief cover of John Coltrane's A Love Supreme on their Plays Pretty for Baby album, though they titled it "The Sound of Jazz to Come" after Ornette Coleman's classic album The Shape of Jazz to Come. Chicago's Cap'n Jazz also borrowed free jazz's odd time signatures and guitar melodies, marrying them with hardcore screams and amateur tuba playing. The Swedish band Refused was influenced by this scene and recorded an album titled The Shape of Punk to Come, where they alternate between manic hardcore punk numbers and slower, jazzy songs.

2000s–2010s

Yakuza from Chicago is comparable to Candiria, combining heavy metal with free jazz and psychedelia. Although Italian band Ephel Duath was credited with the inadvertent recreation of jazzcore on their albums The Painter's Palette (2003) and Pain Necessary to Know (2005), the band moved away from it to pursue a more esoteric form of progressive rock similar to the music of Frank Zappa. Midori made waves around Japan in the mid-2000s for their unrelenting and chaotic blend of hardcore punk and dissonant jazz before disbanding at the end of 2010.

Other punk jazz acts include Hella, Omar Rodriguez-Lopez, Talibam!, Youngblood Brass Band,[15] Aurora Beam and Zu.[16] Gutbucket,[17] and King Krule.[18]

Jazzcore

Some hardcore punk-influenced punk jazz bands such as Zu, 16-17, Pain Killer/Painkiller, and Ephel Duath have been described as jazzcore.

Swing punk

Swing punk
Stylistic origins
Cultural originsLate 1980s, United States
Other topics

Swing punk is a genre created by the fusion of punk rock, jazz, and swing revival elements. Cherry Poppin' Daddies have been described as incorporating punk and ska elements into swing and jazz music.[19]

Further reading

  • Berendt, Joachim E. (1992). The Jazz Book: From Ragtime to Fusion and Beyond. Revised by Günther Huesmann, translated by H. and B. Bredigkeit with Dan Morgenstern. Brooklyn: Lawrence Hill Books. "The Styles of Jazz: From the Eighties to the Nineties," pp. 57–59. ISBN 1-55652-098-0
  • Byrne, David, et al. (2008). New York Noise: Art and Music from the New York Underground 1978–88. Soul Jazz Records. ISBN 0-9554817-0-8.
  • Hegarty, Paul (2007). Noise/Music: A History. Continuum International. ISBN 0-8264-1727-2
  • Heylin, Clinton (1993). From the Velvets to the Voidoids: The Birth of American Punk Rock. ISBN 1-55652-575-3
  • McNeil, Legs and Gillian McCain (1997). Please Kill Me: The Uncensored Oral History of Punk. Grove Press. ISBN 0-8021-4264-8
  • Masters, Marc (2008). No Wave. Black Dog Publishing. ISBN 1-906155-02-X
  • Mudrian, Albert (2000). Choosing Death: The Improbable History of Death Metal and Grindcore. Feral House. ISBN 1-932595-04-X
  • Reynolds, Simon (2006). Rip It Up and Start Again: Postpunk 1978–1984. Penguin. ISBN 0-14-303672-6
  • Sharpe-Young, Garry (2005). New Wave of American Heavy Metal. Zonda Books. ISBN 0-9582684-0-1
  • Zorn, John, ed. (2000). Arcana: Musicians on Music. Granary Books. ISBN 1-887123-27-X

References

  1. ^ Dave Lang, Perfect Sound Forever, February 1999. [1] Archived April 20, 1999, at the Wayback Machine Access date: November 15, 2008.
  2. ^ "The Birthday Party: Junkyard [PA] [Remaster] - Buddha Records - COLB 74465996942 - 744659969423". Archived from the original on April 21, 2016. Retrieved July 22, 2016.
  3. ^ a b c Bangs, Lester. "Free Jazz / Punk Rock". Musician Magazine, 1979. [2] Access date: July 20, 2008.
  4. ^ Ankeny, Jason. "Material". AllMusic. Retrieved August 17, 2018.
  5. ^ Anderson, Rick. "Killing Time". AllMusic. Retrieved August 17, 2018.
  6. ^ Dougan, John. "Last Exit". AllMusic. Retrieved August 17, 2018.
  7. ^ Huey, Steve. "Pain Killer". AllMusic. Retrieved August 17, 2018.
  8. ^ "Bad Brains". Punknews.org. July 13, 2010. Retrieved August 15, 2012.
  9. ^ Sharp, Charles Michael (2008). Improvisation, Identity and Tradition: Experimental Music Communities in Los Angeles. p. 224. ISBN 9781109123777. Retrieved October 8, 2012.
  10. ^ "www.citizine.net". www.citizine.net. Retrieved August 15, 2012.
  11. ^ LOkennedyWEBdesignDOTcom. "Matthew Shipp". Matthewshipp.com. Archived from the original on March 4, 2016. Retrieved August 15, 2012.
  12. ^ Sharp, Charles Michael (2008). Improvisation, Identity and Tradition: Experimental Music Communities in Los Angeles (Ph.D.). Archived from the original on April 24, 2014. Retrieved April 24, 2014.
  13. ^ Beissenhirtz, Alexander J. (May 11, 2006). "Misha Mengelberg and Han Bennink in Berlin". All About Jazz. Retrieved August 17, 2018.
  14. ^ Garden, Joe (August 12, 1998). "Barry Adamson | Interview". The A.V. Club. Retrieved August 15, 2012.
  15. ^ "The Youngblood Brass Band". Npr.org. Retrieved August 2, 2021.
  16. ^ Stefano Bianchi in Blow Up #150 (Italy), November 1, 2010 [3]»
  17. ^ "Gutbucket Addresses Their Flock". Pop Matters. Retrieved January 23, 2014.
  18. ^ Brown, August (December 19, 2013). "Review: King Krule's spooky, angry musings at the Fonda". The Los Angeles Times. Retrieved December 23, 2013. Sometimes, his debts to jammy jazz-fusion went on a little long, and some concision in the writing and playing would have sharpened the emotional fangs that these songs have at their core. But who knew the time was so right for a disaffected jazz-punk balladeer in a baggy suit?
  19. ^ "Music Sideshow". The Register-Guard. August 2, 2002.
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